The work Marie Rambert did with the Ballet Club and the Ballet Rambert in their days at the Mercury Theatre was of incalculable value. The company continues today but its function is somewhat different. Originally the Ballet Rambert was a place where young choreographers could try out their ideas, could make brave and bold experiments. During my most recent visit to London, in the summer of 1953, I was able to see some of her more recent work on the larger stage of the Sadler’s Wells Theatre. I was profoundly impressed. Outstanding among the works I saw were an unusually fine performance of Fokine’s immortal _Les Sylphides_, which has been continuously in her repertoire since 1930; _Movimientos_, a work out of the London Ballet Workshop in 1952, with choreography and music by the young Michael Charnley, with scenery by Douglas Smith and costumes by Tom Lingwood; Frederick Ashton’s exquisite _Les Masques_, an old tale set to a delicate score by Francis Poulenc, with scenery and costumes by the late and lamented Sophie Fedorovitch; and Walter Gore’s fine _Winter Night_, to a Rachmaninoff score, with scenery and costumes by Kenneth Rowell. There was also an unusually excellent production of _Giselle_, which first entered her repertoire in its full-length form in 1946, with Hugh Stevenson settings and costumes. While there was a period when Rambert seemed to be less interested in ballets than in dancers, and the present organization would appear to be best described as one where young dancers may be tested and proven, yet Rambert alumnae and alumni are to be found in all the leading British ballet companies. In the Coronation Honours List in 1953, Marie Rambert was awarded the distinction of Companion of the British Empire. _MIKHAIL MORDKIN_ Although he was under my management for only a brief time, I must, I feel, make passing reference to Mikhail Mordkin as one of the Russian _emigré_ artists who have been identified with ballet in America. His contributions were neither profound nor considerable; but they should be assessed and evaluated. Mordkin, born in Russia, in 1881, was a product of the Moscow School, and eventually became a leading figure and one-time ballet-master of the Bolshoi Theatre. So far as America is concerned, I sometimes like to think his greatest contribution was his masculinity. Before he first arrived here in support of Anna Pavlova in her initial American appearance, the average native was inclined to take a very dim view indeed of a male dancer. Mordkin’s athleticism and obvious virility were noted on every side. Strange combination of classical dancer, athlete, and clown, Mordkin’s temperament was such that he experienced difficulty throughout his career in adjusting himself to conditions and to people. He broke with the Imperial Ballet; broke with Diaghileff; split with Pavlova. These make-and-break associations could be extended almost indefinitely.